Downsizing

There’s no denying Downsizing has many excellent filmmaking ideas and processes that make it an interesting and original movie even today. The main narrative corridor initially is the premise of downsizing people in order to save a moribund Mother Earth, and it dramatises mainly the radical process of physical shrinkage, while the attention is led towards the characters’ getting used to the world of the future, which is described as an incredible adventure to the people of the “past”. After the anticipated key twist, however, Payne defies all expectations and presents an alternative world that essentially duplicates the real one in a small scale, including its social ills, and instead of the adventure and the discovery of the unknown, he focuses on expanding the knowledge of the protagonist, who becomes the dominant of the narration. The differences between the big and the small world gradually fade and blend in the closing part in Norway, which also brings in the idea of that huge, poverty-stricken world represented by the earnest and human Vietnamese girl, while the raunchy playboy Dušan represents that tiny corner of the world where everything is plentiful. Downsizing is definitely a peculiar statement about the state of modern society, though it’s hard to pinpoint in what sense it is actually special: as futuristic sci-fi with elements of social tragicomedy, or as a funny drama about people that portrays big and small social or economical differences with a subtle form of science fiction. Though I think the ending is intellectually shabby and that the potential duality of the fictional world is drowning in indecisiveness about how to best capture said duality (whether through the characters or the environment), I had pretty good fun despite the excessive runtime. I’m adding the fourth star also for the fact that, as it’s usual here, this is a very underrated movie. 70% (29/10/2018)

A grey movie with a great idea (shrinking people) that actually ended up being something secondary. You can tell a story like that even in a normally large setting. It will be colorless the same way. A classic about how an internally dissatisfied man comes to happiness, all it takes is for his wife to kick him in the ass and for him to find an Eastern European friend... 50%. (29/04/2020)

It is almost a sin to turn such an interesting material into a film so uninteresting, boring and without creativity. Matt Damon is going downhill, his quite possibly last good film was The Martian, he has disappointed twice this year and his upcoming film Oceans' 8 doesn't have much of a future. The first hour of the film was still passable and Christoph Waltz gave it quite an energy, but after the arrival of the annoying Vietnamese woman who got on my nerves like no character in a long time, the film degraded two notches and also absolutely deviated from the original concept – I felt I was watching a different film. 40%. (12/02/2018)

I want to see this filmed by Wes Anderson! An engaging start takes the audience into an original film world promising unique viewing experiences, but then the creators resort to resolving some interesting issues in a way I didn’t really care for. It is not a case of wasted potential of an extraordinary film event, just a film event for a group of viewers I don’t belong to. Christoph Waltz’s Dušan amused me. I hope he’ll be discovered by the Coen brothers in The Big Lebowski type of comedy! (24/01/2018)

I like Alexander Payne's work very much and so far he has never disappointed me, but this one was a misstep. The basic premise is fine, I get what he wanted to convey to the audience, at the beginning it's full of interesting scenes and ideas, but in the last act it completely falls apart under the director's hands, when you get the feeling that Payne is either taking a solid piss at you or showing a loss of judgement. The only thing missing was Monty Python in a hug with Ashtar Sheran, I guess that's how unintentionally self-parodic it made me feel. It’s just a mess, what can I tell you? (12/04/2018)